November may be said to have four protagonists: a group of night-shift workers in Southeast France; their friends, relatives, lovers, acquaintances; the factory in which they work; the work itself. The focus is on two and a half hours during one evening in November 1976 and the plastic die-casting workshop where the men are employed. Staggering in scope, November is a virtuoso performance—a contemporary take on the classical modernist novel, anatomizing the ways we live, think, and labor: what we''ve lost, and what we''re losing.
